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This article is downloaded from http://researchoutput.csu.edu.au It is the paper published as: Author/s: Buesnel, R. Title: National Socialist Black Metal: A case study in the longevity of far-right ideologies in heavy metal subcultures Journal: Patterns of Prejudice ISSN: 0031-322X Year: 2020 Volume: 54 Issue: 4 Pages: 393-408 Abstract: National Socialist Black Metal (NSBM) emerged in the early 1990s as a subsidiary genre of the broader black metal movement. NSBM is distinguished by thematic content that promotes Aryan superiority, pagan spirituality and opposes globalization. Buesnel’s article explores the history of the early NSBM movement through an analysis of the bands Graveland (Poland) and Absurd (Germany), which have both played vital roles in the establishment of the NSBM genre. Buesnel highlights the current state of National Socialist ideology within metal subcultures and concludes with observations about the future of far-right extremism in heavy metal. DOI: http://dx.doi.org/10.1080/0031322X.2020.1800987 “National Socialist Black Metal:” A case study in the longevity of far-right ideologies in heavy metal subcultures RYAN BUESNEL Charles Sturt University, Australia [email protected] Abstract: ‘National Socialist Black Metal’ (NSBM) emerged in the early 1990s as a subsidiary genre of the broader black metal movement. NSBM is distinguished by its thematic content, which promotes Aryan superiority, anti-globalization, and pagan spirituality. This paper explores the history of the early NSBM movement through an analysis of the bands Graveland (Poland) and Absurd (Germany), who have both played vital roles in the establishment of the NSBM genre. The author highlights the current state of National Socialist ideology within metal subcultures and concludes with observations about the future of far-right extremism within heavy metal. Word Count: 6683 Keywords: Racism, Black Metal, Heavy Metal, National Socialism, Paganism, Europe, White Supremacy, National Socialist Black Metal. Biographical Note: Ryan Buesnel is a Ph.D. candidate at the School of Theology, Charles Sturt University, Australia. His thesis research is focussed on the activities of the German Christian Movement within the Third Reich era. Additional research interests include German philosophy and the arts. ORCID iD: https://orcid.org/0000-0002-6659-7378 Heavy metal has remained remarkably immune to the ebb and flow of musical fashion. Since its break into public consciousness in the 1970s through the trailblazing work of bands such as Led Zeppelin, Deep Purple, and Black Sabbath, the heavy metal community has developed a self-contained culture that takes pride in its exclusivity and refuge as a home for the socially disenchanted.1 However, the fierce tenacity of heavy metal genres in the face of broader musical shifts has not precluded musical and thematic innovation. The early forms of heavy metal music gave birth to newer subgenres, each of which balanced faithfulness to established artistic and aesthetic traditions with a desire to innovate. Heavy metal now incorporates a staggering array of subgenres, each reflecting particular musical and thematic identifiers while still maintaining fidelity to its original ethos. What distinguishes these different categories is a shared thematic framework that gives expression to the darker recesses of human experience and the individual psyche.2 Despite its reputation for promoting the hedonistic maxim of ‘sex, drugs and rock and roll,’ heavy metal is, in fact, a nuanced and complex set of genres that each explore themes often overlooked in broader musical categories, including social alienation, suicide, and depression. It is also true that heavy metal operates as a vehicle for religious critique, of which Christianity has been a prime target. This dynamic is particularly evident within the genre of black metal, which is marked by intense anti-Christian rhetoric, imagery, and violent action.3 As acknowledged by Massimo Introvigne, black metal’s purpose was to ‘spread death, destruction and terror, all in the name of Satan and against Christianity.’4 Black metal has also fostered a culture in which issues of race and nation are raised, often through the language of European mythology which functions as an analogy for contemporary issues of racial and political significance.5 This paper traces the emergence of a more explicit form of political extremism, racism, and nationalism within black metal as it has been expressed in the so-called ‘National Socialist Black Metal’ (hereafter NSBM) movement. Although a contentious term,6 NSBM in its broadest sense can be considered a genre that utilizes the musical forms of black metal with the thematic and visual content often associated with neo-Nazism and far-right extremism.7 A recent survey of the history of NSBM defines the genre as: 1 On the forms of metal communities, see Deena Weinstein, ‘Communities of Metal: Ideal, Diminished and Imaginary’, in Naelson Varas- Díaz and Niall Scott (eds), Heavy Metal Music and the Communal Experience (Lanham: Lexington Books 2016), 3-22. Weinstein has elsewhere written that “heavy metal subculture becomes a home, a refuge for those dislocated in urban migration, caught between stereotypical racial politics and often fluid urban space divisions brought on by rapacious property development.” Deanna Weinstein, ‘The Globalization of Metal’, in Harris M. Berger and Paul D. Greene (eds), Metal Rules the Globe: Heavy Metal Music around the World (Durham: Duke University Press 2011), 55. 2Bettina Roccor also points to the shared musical features inherent to each subgenre, which results in an overarching sense of community in which Heavy Metal fans are unified ‘in their indignation.’ Bettina Roccor, ‘Heavy Metal: Forces of Unification and Fragmentation within a Musical Subculture’, The World of Music, vol. 42, no. 1, 2000, 83-94 (83). 3 Jason C. Bivins, ‘Weight of the World: Religion and Heavy Metal Music in Four Cases’, in Bruce David Forbes and Jeffrey H. Mahan (eds), Religion and Popular Culture in America (Berkeley: University of California Press 2017), 108–11. 4 Massimo Introvigne, Satanism: A Social History (Boston: Brill 2016), 482. 5 Richard Dyer, White: Essays on Race and Culture (London: Routledge 1997), 21. 6 Benjamin Hedge Olson, ‘Voice of Blood: National Socialist Discourse in Black Metal’, Popular Music History, vol.6, no. 1, 2011, 135-149 (139). 7 Dario Martinelli, Give Peace a Chant: Popular Music, Politics and Social Protest (Cham: Springer International Publishing AG 2017), 30; David Jo Murphy, ‘Hate Couture: Subcultural Fundamentalism and the Black Metal Music Scene’, Ph.D. dissertation, Nui Maynooth University, 2011, 62. An ensemble of values and ideals based on territorial needs: anti-Christianity, nationalism, and defense of the race and its traditions- often pagan traditions as opposed to Judeo-Christian ones.8 As such, it is the expression of such themes through the imagery and lyrical content of a band which lends itself to categorization as NSBM. This separates it from Black Metal as a broader concept, which has traditionally been aligned with themes of misanthropy and occultism.9 Although Black Metal is receiving increasing attention in academic and popular literature,10 there is much work to be done in terms of analyzing the thematic material of extreme metal bands who advocate white supremacist and nationalistic views, whether implicitly or explicitly.11 Many of the extant analyses either ignore the reality of NSBM or exaggerate its influence within the broader metal scene.12 Either of these approaches prevents an objective and critical analysis. This paper is a response to this gap in the literature. It first discusses the emergence of racial and pagan themes in Norwegian black metal and then traces the history and thematic content of two critical bands in NSBM: Graveland (Poland) and Absurd (Germany). The article offers further observations about the contemporary state of NSBM and closes with some comments about the future of far-right ideologies within heavy metal. Varg Vikernes and the Second Wave of Black Metal Norwegian musician Varg Vikernes emerged in the early 1990s during a period now referred to as the Second Wave of Black Metal. As an extension of the original black metal movement of the 1980s, Norwegian musicians developed the genre further, launching innovations in sound and aesthetic sensibilities. The new black metal also featured a renewed emphasis on Satanism, Paganism, and Norse mythology, which have remained consistent throughout the genre’s development. Key bands from this period reflected the geographical spread of black metal throughout Norway: Darkthrone from Kolbotn, Mayhem and Satyricon from Oslo, Gorgoroth and Immortal from Bergen, Enslaved from Haugesund and Emperor from 8 See Max Ribaric and Davide Maspero, Wolves Among Sheep: History and Ideology of National Socialist Black Metal (Milan: Tsunami Edizioni 2015), 13. Readers consulting this volume should be aware of the authors sympathy toward the NSBM movement. 9 On the varied manifestations of Occult themes within black metal see Kennet Granholm, ‘Ritual Black Metal: Popular Music as Occult Mediation and Practice’, Correspondences, vol.1, no. 1, 2013, 5-33. 10 Popular works on the history of black metal include Dayal Patterson, Black Metal: Evolution of the Cult (Los Angeles: Feral House 2014); Michael Moynihan & Dirk Søderlind, Lords of Chaos: The Bloody Rise of the Satanic Metal Underground (Los Angeles: Feral House 2003).
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  • Extreme Metal: Subculture, Genre, and Structure

    Extreme Metal: Subculture, Genre, and Structure

    Université de Montréal Extreme metal: Subculture, Genre, and Structure par Samaël Pelletier Université de Montréal Faculté de Musique Mémoire présenté en vue de l’obtention du grade de Maîtrise en musique option musicologie avril 2018 © Samaël Pelletier. 2018 Abstract Extreme metal is a conglomeration of numerous subgenres with shared musical and discursive tendencies. For the sake of concision, the focus throughout this thesis will mainly be on death metal and black metal – two of the most popular subgenres categorized under the umbrella of extreme metal. Each chapter is a comparative analysis of death metal and black metal from different perspectives. Thus, Chapter One is historical account of extreme metal but also includes discussions pertaining to iconography and pitch syntax. Subsequently, Chapter Two concerns itself with the conception of timbre in death metal and black metal. More specifically, timbre will be discussed in the context of sound production as well as timbre derived from performance, in particular, vocal distortion. The conception of rhythm/meter will be discussed in Chapter Three which will simultaneously allow for a discussion of the fluidity of genre boundaries between death metal and progressive metal – largely because of the importance placed on rhythm by the latter subgenre. Instead of a focus on musical practices, Chapter Four will instead take a sociological approach with the aim of answering certain issues raised in the first three chapters. Ultimately, this thesis aims to elucidate two questions: What are the different aesthetic intentions between practitioners of death metal and black metal? And, how do fans conceptualize these aesthetic differences? Sarah Thornton’s notion of subcultural capital – which is derived from Pierre Bourdieu’s notion of cultural capital – will help to answer such questions.